Josh Larsen

Endgame provides something truly satisfying: a sense of closure.

It’s as if Moss is directing the movie through her performance.

This bloated, big-screen take on the DC comic is dumb, but not nearly dumb enough.

I suppose if you wanted to be really generous to the film, you could argue that this Dumbo takes a subversive swipe at Disney, its own corporate overseer.

As Starfish becomes a more obvious personal metaphor involving betrayal and forgiveness, it also becomes a bit less interesting—even as it still marks White as an ambitious talent to watch.

Working with cinematographer Mike Gioulakis, editor Nicholas Monsour, and composer Michael Abels, Peele has once again constructed a movie experience that functions first and foremost on the level of sheer terror. From the drops of doom on the soundtrack to a POV camera that frequently puts us face to face with horror, Us turns identity politics into the stuff of nightmares.